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The 9th Lumière Festival in Lyon, France, is again bringing together some of the biggest names in world cinema, including Guillermo Del Toro, Wong Kar-wai and Michael Mann, while celebrating the history of film with some 400 screenings of international classics.

Launched in 2009 by Bertrand Tavernier and Thierry Frémaux, the respective president and director of the Institut Lumière, the event has become one of the largest international festivals of classic cinema. Last year it hosted 160,500 festivalgoers – up from 2015’s 150,000 admissions – and more than 1,000 industry professionals.

It was in Lyon where brothers Auguste and Louis Lumière invented the cinematograph in 1895, and in keeping with the city’s cinematic tradition, the festival celebrates the history of film by presenting restored works, retrospectives, tributes and master classes.

In 2013, the festival also started what it describes as the first and only classic film market in the world, noting that the heritage cinema sector is currently expanding thanks to advancements in conservation standards

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Metrograph

“Gotta Light?” celebrates Twin Peaks‘ epochal eighth episode with features and short programs, while A-z continues.

French actor and filmmaker Jeanne Moreau, known for films such as Jules and Jim, The Trial, The Bride Wore Black, La Femme Nikita, died today at her home in Paris, at the age of 89, according to her agents. While French actors might have a reputation for perfecting the art of 'cool', it could be said that it was Moreau's work that began this. Daughter of a French restauranteur and an English dancer, she got into acting in the 1950s. Her first big break came when she appeared in Louis Malle's films Lift to the Scaffolding where she took a precarious walk to the sublime music of Miles Davis, and The Lovers (both 1958). But it was in Jules and Jim, about a woman caught...

The mayor of the Paris district in which Moreau lived confirmed her death.

French President Emmanuel Macron called her “a legend of cinema and theater … an actress engaged in the whirlwind of life with an absolute freedom.” Pierre Lescure, president of the Cannes Film Festival, tweeted: “She was strong and she didn’t like to see people pour their hearts out. Sorry, Jeanne, but this is beyond us. We are crying.”

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Moreau was honored with a 1965 Time magazine cover story, rare for a foreign actress, and was compared to such screen greats as Garbo and Monroe. Since her rise to prominence in the mid-’50s, she epitomized the tenets of the French new wave, boasting a womanly sexuality and a fierce independent spirit. Orson Welles,

Born in the Tuscan city of Grosseto, Martinelli moved to Rome in the early 1950’s and started a career as a model, after her beautiful slim physique was noticed by fashion designer Roberto Capucci. She soon appeared in “Vogue” and “Life,” which is where she was noticed by Kirk Douglas’ wife Anne Buydens.

Writer-director Elio Petri scores big in his first feature, the story of a heel suspected of murder. Is he a killer, or just an average guy trying to get ahead, who uses women to his advantage? Marcello Mastroianni impresses as well in a serious role, with Salvo Randone shining as the police inspector trying to pry a confession from him. Beautifully restored in HD; the show is from a time when Italian film was at its zenith.

A woman runs down a long, deserted hallway trying to save her son from her maniacal husband, when she is stopped by a ghastly phantom who proclaims, “Great party, isn’t it?” A man wakes in bed to discover that he has transformed into a giant insect, and worries that he might miss his morning train. Another is charged of a crime with no name, and hopes that his co-workers won’t hear about it. A cigar-chewing general sends a misinformed order, which leads a patriotic cowboy to start the nuclear apocalypse. These scenarios are infamous examples of the absurd, the comedic and the horrific, expressed in chaotic unison through fiction. All of them were created by artists who are often taken far too seriously: Franz Kafka and Stanley Kubrick.

Most Americans have read Kafka in a high school or college lit class, the most oft-taught examples being his novella

New Wave director Claude Chabrol goes off in an odd direction with this Francophone adaptation of Hamlet. Convinced that his father was murdered, the heir to an estate behaves like a madman as he sets out to unmask the killers. The ‘castle’ is a country manse guarded by thugs as a precaution against the signeur’s striking union workers. Special added attraction: the stars to see are Alida Valli and Juliette Mayniel of Eyes without a Face.

In an interview with the BBC’s Hew Wheldon, Orson Welles set out his philosophy concerning adaptation, more specifically, his willingness to interpret and alter source material:

Wheldon: Do you have any compunction about changing a masterpiece?Welles: Not at all, because film is quite a different medium. Film should not be a fully illustrated, all-talking, all-moving version of a printed work, but should be itself, a thing of itself. In that way it uses a novel in the same way a playwright might use a novel — as a jumping off point from which he will create a complete new work. So no, I have no compunction about changing a book. If you take a serious view of filmmaking, you have to consider that films are not an illustration or an interpretation of a work, but quite as worthwhile as the original.

On a dreary winter’s day, an industrial town in Wales doesn’t sound like the ideal destination. However, much like Kenny Wells (Matthew McConaughey in Gold), sometimes you can strike gold in the most unassuming of places.

Royal Mint is the largest mint in western Europe, every single British coin in circulation is made here – that’s right, all of those coins tunefully jangling in your pockets. The Royal Mint produces roughly 90 million coins each week, averaging a cool 5 billion per year.

The Royal Mint Experience, a purpose built exhibition and visitor centre, opened its doors for the first time on the 18th May 2016. This provides visitors with the chance to explore the rich history of Royal Mint,

The great film historian Kevin Brownlow, who has devoted large sections of his life to restoring Abel Gance's 1927 epic Napoleon, takes a dim view of this one. And indeed Austerlitz, a.k.a. The Battle of Austerlitz, has several strikes against it, belongs to several categories of film maudit all at once. It's a late film by a seventy-one-year-old director whose best work, by universal consensus, was in the silent era; it's a kind of belated sequel, the further adventures of Napoleon Bonaparte; it's a Salkind production.Incidentally, viewing the lavish sets for this movie, we can see how the Salkinds, those roving multinational mountebanks, ran up the unpaid studio bills in Yugoslavia which kept Orson Welles from building the elaborate vanishing sets he had planned for The Trial (starting realistic, it would have ended up playing in a featureless void), necessitating the repurposing of a disused Parisian railway station.

The Criterion Collection's Blu-ray of The Immortal Story took me completely by surprise. I bailed out of a viewing long ago on Los Angeles' 'Z' Channel cable station, mainly because it looked terrible -- grainy and washed out. I thought I was watching a faded print that had been blown up from 16mm.

Nine years before he completed production on the multi-million dollar Disney remake of “Pete’s Dragon,” David Lowery was living out of the back of his car, editing corporate videos. The Dallas native directed his first feature, the little-seen “Lullaby,” at age 19. The ensuing years found him collaborating with a close-knit group of local film-savvy friends, but little in the way of upward mobility. “I never put a premium on making a living,” he told me in a recent phone conversation. “It was never one of those things that was important to me.”

Lowery’s work at the time suggests as much — it’s anything but commercial — and yet it provided him with an ideal platform for a massive career move as one of Disney’s newest secret weapons. “Pete’s Dragon,” a $60 million re-imagining of the 1977 live-action-animated musical film, has all the hallmarks of Lowery’s earlier work: a serene,

Part of the fun in rounding up recent books about (or connected to) cinema is the sheer diversity of releases. This latest collection features a dive into this history of Hollywood legends, lots more Force Awakens, compelling reads from two fascinating critics, texts highlighting the art of Batman v. Superman and The Little Prince, and more. Plus, if you’ve been coveting Constable Zuvio mentions, you’re finally in luck.

My favorite book of 2016 thus far has arrived, and it’s Movie Freak by former Entertainment Weekly critic Owen Gleiberman. For many a nineties teen, EW was something of a pop culture bible, and Gleiberman’s incisive writing was a key reason. In Movie Freak, his unguardedly personal memoir, he talks of films loved (Blue Velvet, Manhunter), friendships dashed (with the likes of Oliver Stone and Pauline Kael), and

This is definitely the time of year when film critic types (I’m sure you know who I mean) spend an inordinate amount of time leading up to awards season—and it all leads up to awards season, don’t it?—compiling lists and trying to convince anyone who will listen that it was a shitty year at the movies for anyone who liked something other than what they saw and liked. And ‘tis the season, or at least ‘thas (?) been in the recent past, for that most beloved of academic parlor games, bemoaning the death of cinema, which, if the sackcloth-and-ashes-clad among us are to be believed, is an increasingly detached and irrelevant art form in the process of being smothered under the wet, steaming blanket of American blockbuster-it is. And it’s going all malnourished from the siphoning off of all the talent back to TV, which, as everyone knows,

Not so very long ago I had a co-worker who described himself as a movie geek, film fan, cinema addict, what have you. He talked about film as if he knew all about it. I asked him one day what he thought of Orson Welles. His reply?

“I don’t think about Orson Welles, he was old and fat, now he’s dead, what am I supposed to think about him?”

Needless to say I never really talked to this person again, who shall remain nameless. Of course the fact that he was an egocentric, arrogant, narcissistic weasel didn’t help matters. (He claimed to have a small part in Tombstone, I have seen that movie several times, never spotted him, by the way…)

I simply cannot fathom the arrogance of someone dismissing, so casually one of the greatest film makers who ever lived. I have been fascinated, obsessed even,

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